Woot Herbie Hancock's ‘Chordless’ Piano Solo on ‘When | Fall In Love’ The by the Miles Davis Quiet at Chicago's Plugged Nickel in December 1965, offer the sonic genesis of moder jazz. The {group traces a seamless are from “inside” ‘hebop-derved playing cagh to music without ‘xed tonal center or meter nd back api, olen inthe context ofa single tne, Herbie Hancock's solo on “When [Fallin Love from the second set on Dec. 2233 heard on The Compete Live At ‘The Plugged Nickel (Cohumbin Legacy), doesn't ‘navel to those extremes, but it explores same intriguing places along the continuum between “inside” poscop ane fee playing. ‘Wayne Shorter precedes Hancock with gorgeous tenor saxophone solo thet draws on the Inelody of the tune, The pianist begins his fer- ‘urea raach the same way, with line tat para- hrases the melody of the song acd continues in ‘hat vein for several measures. Tn Tan Carr's 1998 book Miles Davis, Hancock recalled that around this time, “Miles suid, ‘T don't want 10 play chords anymore’. T guess what lhe wanted © 0 for was the core of the ‘This seems to describe what happens from measure 9 onwards. Hancock's lines generally make considerable anelodic sense but frequently move con tery to the tune’s harmony. The point thatthe improvised melodic lie and tbe hanno- fy need not coincide is ist ma in measures 9-13 (wher he lne relates only obliquely to the romtiealy descending chords), and then di- ‘yen home with the passage in mesures 15-17, A shert, bebop lite ek moves quikly though Sa a, The Purrrrfect Sound! Phe Wait Is Over! Ente Cnet) Prac eer azzkatamp: s.com SOLO by Norman Meehan ‘series of tal centers at eds withthe hirmo- ny oulind by the bass, dilocaing the pinis's Tine completly from the changes. However, this “outside” ine is 0 Finely resolved (on the chit ‘of tho By chord in measure 19) thatthe disso- ‘nce doosn't fel anomalous a al Hiascock employs an almost identical seate~ . inthe socond half of his solo (beginning in ‘measure 34, and using the same lick), but hee the dissonance lasts much longer, basically until measure 49, Ths afl dance between disso- ‘nance and consonance i the theme ofthe eie solo, The performance contains a few of Hancock's siganure touches: triplets organized in groups of four (measures 30-32) open: ‘voice chords that punctuate is lines to cree space and vary the texture (measures 27-30, ant during the lst 16 measures); end wonder fully swinging eighti-not lines (de fist eight measures in paricuar), which remind us of his consummate ski asa staighnaead sys, etiaps the most striking aspect of the pe formance is the interaction between Hancock ‘and his shythm section partners, bassist Ron ‘Carter and dransner Toy Williams. Carter con stantly disrupts the time ina playfal dielogue ‘with Hancock —sometimes playing in aympe- thy, sometimes in opposition. His broken pas sage against the pianists chords in measures 177-29 creas a wonderful const, and his ine ‘of stumbling half-note wiplets in measures 33-37 amplifies the effect of Hancock's disc ‘ant, pandonal lnc. Willan i in on all of his, too, Dusing meesures 22-25, all three players seem to suspend tho time and engage in strange kind of wading before reaming to stated time on the downbeat of measure 29. Hancock's 6t-measure solo is quite a jour ney, full of piquant dissonance and surprising tum Is 2 at, although it seemed to fll on deaf cats atthe Plogged Nickel: Only one mem beraf the audience applauded the solo, 08Paprtgrta es Pag ga get Thinking of TL Equipment? Since 1924, when Sam opened his frst ‘musicstore in Brooklyn, N.Y, musicians have come to rely on the Sam Ash family forthe biggest selection, best service andthe Guaranteed Lowest Prices! Cees ee or Shop On-Line: | PSE SRC eee mars une 2008 DOWNBEAT 125,BEAT HSCoie Woodshed I «sors sourson BSTC fea sel elcoaksy Trombone Solo On WaT 196, ame went end compose Ske Harton moved to Earope. Soom aris a= ‘ial, be texmed up with exouito saxophonist Dexter Gordon fo ec th sexe album A Day {i Copenhagen. "My Bes" oe of ee cial tunes by Hampton fnm the alums, showesses his Abily & a melodic inprovr a be bows over sevetchonsesof ke bus, ive of which arta sere, “aap fit sol chonsis based on asi pe fourote mot (arti n ease 1) ive fiom the song's melody. He augment the moti and inches pckap note an enlosure he sec od ine ound (m2), crea a shot medic sequence. fs mesure 3 pls th sme mex (eave up one balstep wile abo soning icrhyttmically. In measures 5-8, he deeiogs i fer by repeating ho mot on nes inascen dng fous every thee bats, creating «hel ‘While thse fou not oes don't hein incon. ‘vena ways ovr the ded changes, they c= ste weaken melodic sequence with a dsconart Sound The it choses witha eee Alzaon x Hampton uses an F dominant bebop sea incnding oF (9-10 blnesy Dycuo> nate passing one 10) and a tonic 10-10), leeng if onan F at conventionally connects th same Fforbeat ue. 11-12 Harp fequealy corps “sere” (3 and?) that ate’ est ele the cdot bes playing over. 10, 16-15, 73-2485) Inmeasue 16th is screens connection festa ff Hong pease in Hh dovan enn in 427-3 soliton antesping the chord change 18-19). The es rom te fist chars then p> esa on leper thant riginally A, follosed by s pir of nay identical syper boson ks om. 2,24 tha at need by fragmenta bes le 8.23), binging it The hed hors Wits nar 7-3 elton, 25), "The til chorus coninos sth another exe sample of harmonic generalization this tine sing ‘long By minor pentatonic line shat ends pani ating te chord change to E37 (m. 26-28). Farp- ton theo shits to a similar line, usin B dorian instead (mn, 29-30). He quickly uses an astending liminished scale (m. 31-32) before amisipting and then playing the populis "Cry Me A.River descending Siper ler ick (33-39, lampion stats a simple repete figure wo ‘eas before the next chous begins, seroncally generalizing while using overthe-barine phrasing (00, 36-38) In measures 39-40 he uses another pedve figure, ths time descending while cutin- ing part of eB, mixolydian scale on beat 1 and 3 and ending with a)13-9 resolution and anoer Bh mir pentane lick. A potion ofthe Lk fee measure 41 is repeated sid embelished in mea- sure 42. The chorus then end wi apa of me Jodc sequences, each of Which features te Jong phrases (an antecedent anc consequent phrse) ‘hat use By minor pentatonic These seeuenees (m, 48-47, 48-S0) bing ws into the fit chorus. ‘HRampson plays whole-one scale stating 00 that brings us ito the change to}? (m. 51 52). This followed by yet aesherhareonically generalized long pase in B, dora: ending with 4 small parion of a G mixolydian scale with a [9 leading ito tho Crt? chord (mn. 53-56) Tho las long phrase ofthis chorus ends witha simple ston repetitive phrase that reingorees te onic sound (57-59). What is pediaps most aneresting about this folo is Hampton's juxtaposition of dissonant material with simple toniccrened resohtions ‘AX times, it soems as if he disregards the chad ‘anges in order to complete a rhythmic or me- Tonic idea, Fut wiever his inten, these highly issnant passages are almost aay falowes by ‘treaively simple elution of somekind. paUT a Buying Musical Equipment? eh Since 1924, when Sam opened his fist. ‘musicstore in Brooklyn, BLY, musicians have come to rely on the Sam Ash family forthe biggest selection, best service andthe Guaranteed Lowest Prices! (ery eG SO Parent nears PAS Ea Re reedeT Buying Musical Equipment? Since 1924, when Sam opened his first ‘music storein Brooklyn, N.Y, musicans have come to rely on the Sarn Ash family forthe biggest selection, best service andthe Guaranteed Lowest Prices! PETS eS or Shop On-Line: www.samash.com RCE je DOWNEAT NE 20 Cuong Vu's Trumpet Solo On ‘Chitter Chatter’ ough mainly known for his work with Pat Metheny, mumpeter Caong, Vu iis sso ‘pat out a number of albums as leader. From 2005's Is Mostly Residual, "Chter Chats” is ‘one of Vo's origins. Tt opens with amubato, a rospheric improvisation, and Vu stars soloing ‘when it breaks into a groove ‘The groove is 2 fast 54 romp, more of rock ‘n’ roll groove than jazz, with straight ‘ight notes and an eight-bar diatonic chord progression (all the choeds exist within the G ‘majar scale). Vu's soloing is schizophrenic blend of rock and jzz, Tore are stings of sea- Jar lines that run up and down G major, sore- times with a soeming Ick of concen for the n= ediying inemony, juxtaposed with some heavy chronatiise. ‘There is iniligence 10 Vo's madness, He tends to put the longer chromatic lies in the later paris of phrases, usually in the thint or fours measure ofa four-bar phrase, asin bars 16,20 and 21,25 and 41. Measure 47 i the one instance where Vu pus long chromatic ine in the second measure. ‘And the chromaticism iif isn't random, ‘Vu generally uses non-scale tes to get to scale {ones either as passing ones (E# in 16 and $7, ‘Dé in 26,E}in47, By in 50, Cin 6), neighbor notes (Fin 16,25. 47 and 69, Cin 27, F and Di in 41), oF approach noes (DF in 12 and 21 Fin measure 37). quite effective us is when ‘Vu approaches a scale tore with the chromatic notes on eier side of it ike the Ef and C# before the D on dhe dowraheat of meesure 17 ‘There are simile occurrences in measures 21 (F and Di leading t B),25 (FL and Ca before the on beat 3) and acros the bar line to 43 (F to Di to), He uses the same motif but withthe scale tone & half stp away, Ike Ge (4) ro F# 1G in measures 20 and 37, and Dhco Bto Cin measure 53 ‘There ae other, more rock-oriented motifs that recur and elp to te his solo together, The repetitive A to G if roduc! in measire 6 reappears in. measure 23 and then. again in ‘extended form toward the end of his solo in measures 58 and 59. Another is the melodic an proach to the emphasized E on the C eho and then descending down t the A.on the D chord asin measures 18 and 19, where it appears in its simplest form. The idea is developed in mes sures 34 and 35, and again in measutes 62 and 63, where it heralds the close of his soo onthe Jong D vamp, which also ends the song. ‘One last thing worth mentioning is hove fiooly Vo navigates tho 5! time signatre. The ‘odd meter doesn't prevent him from phrasing ‘over bar lines or using syncopations. Observe the licks of offbeat accents in measures 29 and 39-40. Also look at how be so often plays not just over the bar line, bit over the beginnings of ‘hrases, asin measures 10, 14, 22,26, 30,42, 46,58 and 62. His phrasing isso fie. and the hythms setion So solid, one could mis the fact that t's not i, veDelta Series by GOTOH |1:21 ratio SSRNTHE PRICE FIGHTERS - WLS y THE bal atl THE BRASSWIND “World’s Largest Selection of Instruments ' & Accessories” ‘ SIMPLY RETURN The following Coupon indicating the FREE Catalog of your choice! State Zip O wooowno C1 srasswino © Rock‘ RHYTHM 1 puns in THE WIND Me WOODWIND ‘BRASSWIND “calTolree., 1-800-348-5003 Local: 1-219-272-8266 tomuaur Orieber 1994 Beat Stan Getz’s Tenor Sax Solo On ‘The Girl From Ipanema’ by Bob Belden Bob BedentvsinManetansh silly snore dpe una that ous obs wg andarranging Hisferthooming, iigatin-fe CD, When Dees Cr (Metro Bue $2519-2 covers tunes tyre ert ferme mown. Prince. A frequent conteBstar to DB, Belden zs taught composition st The New Schoo! Fr Soil Research fc the last three years es ed te saxophone have en joyed a healthy relationship since ‘Rudy Vallee made people swoonin the 1920s, On rare occasions, a hit song will ave a thoughtful, wel balanced sax solo that becomes somewhat of a hit its. We can think of Grover Washington Jes solo on “Just The ‘To OF Us" paired with Bill Withers’ vocal. Or how about Phil Woods) famous chorus on Billy Joets “Just The: Way You Are.” Perhaps the most famous popu- lar saxophone solo ofthe 60s was ‘Stan Getz’ on “The Girl From Ipanema.” The song rose to No. 1 ‘onthe Bilboard charts n 1964 and knacked the Beatles from the top position, Stans tenor solo had to be faithfully recreated (atleast in spin) by every musician who’ ever touched “Ipanema,” ot any song from this genre. ‘Whatallofthe above-mentioned “pop” solos have in common is simplicity and good taste. Too often, we saxophonists. (myself included) tend to “go for it” rather than "mean it”; technique and prowess oversrheli the context. Stan has’ subordinated himself Completely to the song and sus pended the ego for a moment. The result is beautiful Instead of the usual analysis, I thought it would be a novel idea to ask to saxophonists what they thought of San’ solo in this context. Here are some of thei thoughts, Professor James Riggs (University of North Texas): “The concept of playing a melody and playing ‘around the melody’ are essential to improvisation. Stan is very consciously tying to ‘match the naturalness and texture ofthe vocalists. His sound is great his ideas show great taste, and his phrasing is very relaxed, This is an excellent introduction to simple improvisation and the art of melodic paraphrasing.” ‘John Stubblefield (New York jazz exophonist): “Stan® signature was al oer this solo. No licks, No scales. The attitude that Stan uses on this solo and others from this period were very influential for many players, including me. And knowing Stan personally from thet time gave that attitude a sense of freshness.” “This solois contained on two CDs: Geta Gilberto Verve 810 672-2) and The Essential Stan Gets Wetve 314 317 171-2, ‘One bit of analysis: The definition of “playing pretty” can be heard from measures 28-3 He finds the right notes every time. Also, alto players can transpose this entire solo down a fourth, and it will sound just a good. ‘Other original personnel from this March 1968 recording included Antonio Carlos Jobim (the song's composer) on piano, Joao Gilberto on guitar and the first voce), Asteud Gilberto ‘on the second vocal, Tommy Williams on bass, and Milfon Banana on percussion.dienes “prt tee phone” hades ay bok the pease” melas BOOKSTORE me October 1994Thinking of Buying Musical Equipment? Since 1924, when Sam opened his frst ‘music storein Brooklyn, N.Y, musicians have come to rely on the Sam Ash family forthe biggest selection, best service andthe Guaranteed Lowest Prices! ees ee Pee ene www.samash.com RC eee cs Woodshed URECORDING/SCHOOL Recorded Dee. 24, 1954, for the album of the same name, pianist Thelonious Monk's solos on both takes of Bag’ s Groove” are shining exam: les of his idiosyncrasies. Presented hee are the First four choruses from Monk's sofo on the fist ake. The tack was writen by vibraphonist Milt Jackson, and is also s great example of just what “Men could do with simple F blues First, Jook atthe way Monk constructs his solo, each chorus going futher than the previ cus. He stats with a very simple two-note ea (he ith and reo, lke the melody from Duke Elingtoa’s "C Jan Blues”), waiting until che igh and nih measures to add 190 eitional notes. The secood chorus has more activity. oth tiythmically and melodically. The third ‘chorus stats with even more thymic activity, with the inroduction of 16th-note chyths, not yet explored inthis solo. Alo there are denser ‘hordvoicings inthe final two measures. This Teads into the fourth chorus, which is entirely block cheeds. After this Moni rings the energy Deke down by returning o singl-not Hines akin to his second chorus for his next chorus (a0t printed, 'Now let's look at some specific aspects of ‘Monk's approach, His left hand is used very sparsely, nd nota all inte second chorus. IP's asl was saving this texmre forthe cin ‘the fourth choras, wiz it joins his right hand ‘The voicngs in his left hun are no very dense, jst one oF two noes. He also has oo problem by Jimi Durso ACC y TLL Sey eres fote Piano Solo On:‘Bag’s few ‘playing roots and fits in is eft hand, instead of playing other tones that would define the chord and thicken the harmony, as many other jaz pianists would Rhythmically, Monk bases many of his ideas off of quarter-note tiles. What’ fascinating is ‘ow roy he stars tem on the Lan 3, 25 they ‘are most often played (measure 43 being the ‘only example). We see the quarter-note ripet {dea extended over the bar line in measures 20-21 gad 32-33, and lesding to he four and third beats in measures 33 and 34. After this “Monk pushes the idea fuer, playing what are basicaly qurter-otetiplts starting on upbeats ‘in messures 34 (over the bar line into 35), 39-40, 40-8), 4 and 6, These ks have been ‘ten vations of eighth-nots triplets for easier reading “There are also some dissonsnces that are characteristically Monk, He stats with the Go introduced in measure 8 and appearing in 10. ‘As thei ofthe F7 andthe 5 of the C7, this tone Ins its place in zz, bt after al the foots and fifths in the previous meesres this tone is ke a blast of cold water. But even more "out is E-natural fist played in measure 19. As the ‘major seventh, this note has no place in bites, especially on the T chord, Bur Monk keeps retuming to i, We heart again in measures 23, rnd 30 (where it isthe #11 on the B47), as well asin the chord section in bars 35-38, and in measuse 46, where it finallyshows up as he major hit ofthe V chord, a8 i this was what Monk has been ang to forthe pst 27 measures. I's also interesting how the E-atural beoomes an interior voice in measures 37 and 38, erating & counterpoint to the half step melody above, ‘Another “Maokiso” is his we of sachs. He plays a suing of em mnelodicaly in measures 18-22, maveling up an down seals in sinths (The meedy to Monk's composition. Mister- so" is hased on this same tecnique) It pro- vides country like effect, similar to yodeling Later, stting in bar 36, Monk pays sits har monica in his pt hand, harmonizing the top voice with notes sixth below. I's the same idea with the notes played together rather than ‘one at atime, Up through bar 39, its inteesing that he resolves his melodies to sixth that are vaiations of an F chord (hid and root in bar 36, fifth and chr in 37-39), and de chromatic ‘chord one-half step down Monk plays lading to these imply E major chords. So by this point ‘Monk is not just playing the individu E note that i so dissonant, be"s implying an B chord. hich is even more out eB oxtail Vika Han achat incase lea eet) TON ere Cucr Cec) Peco r clare)DOWN BEAT Classified Ads continued ‘Baaeres Een Weer oe FARE AZZ RECORDS: vrs npanl Sack a esa ‘og i FAX ONES 6 Paziapy aps tne Sec Tig oer be Pele Rex iors PO Sox Des 0, ios DeCONTED AT OST Gaim aay mao. se Cao, a Cota sre, 3 Carbroe 8 ‘Bisa Ses pues pose bb S000 Soon, HoT Pate, ‘Res oe cases Ey oor POSES, ‘Bi ean ase Ene 20 years of peciaizing in Jazz, Rock, Blues ara‘h ‘8. 25,000 0D sock, featuring mary imporis fom around the word, aus comostc and indie CDs, CO ‘pie 6060708 rlsoues. Large vil se iecfon’ even naw raeaoos Né bostogs ‘assral Major Cred Cards, “Tied Street Jazz and Rock 20 North Third Strost Philadelphia, PA 18106 (25) 627.3366 (Outside PAINA/DE 200-48-MUSIK Pere Seas mbsf anciice nila culos racer esnas ‘ge nat FEST TON fn Sg ae ee SNES or a om VOTE DOWN BEATs 58th ANNUAL READERS POLL See page 41 for BALLOT VOTE PRO SESSION Herbie Hancock’s Solo On ‘Old World, New Imports’— A Piano Transcription by Renee Rosnes [Renee Rosnes' For The Moment (Blue Note) won 1902 Juno—Canaéa’s Grammy: She frequently gigs ith}oe Henderson and J Johtson and performed with he Carnegie Halla Band at thet tite to ‘Miles Davie Her latest releace, with bor to anda steng orchestra, i Without Words (Blue Note—see i. OD eee ms ‘clans my ears were exposed to ‘nigh school was the ever inventive Herbie Hancock, No matter what the context, bis playing always intrigued me with his vast harmonic knowledge and rhythmic playful. “Rhythas” changes being one ofthe basic ‘chord progressions every jazz player learns early on, [decided to transcribe this partica- lar Hancock solo many years ago, of which two ofthe four choruses are presented here It is from Hank Mobley’ ‘No Room For Squares Blue Note 84149), recorded in 1963. Mobley's composition, “Old World, New Imports” features Donald Byrd, Han- tock, Butch Warren, and Philly Joe Jones. 1 believe it is the only recording in exstence that pairs Hancock and Jones (both Miles Davis alumni), which makes it special “The tune is basically “Rhythm” changes in Bb, withthe bridge going up a fourth to ES (- \VEIL-V)insteadof the regular cycle of ithe. The construction ofthe solos linear and use the full range of the instrument (bars 32 and 46). Notice how Hancock takes @ line and develops it by changing a note ar playing with the rhythm: bars 3-8, 25-27, 31-35, $259.1 bear traces of influences from Red Garland and Wynton Kelis, even though it = unmistakably Hancock. His use of chromaticism throughout adds tothe overall ease and momentum that prope! this sole forward: bars 10-11, 22-24, 27, 39-35, and 48. lespecielly lke hs treatment of the changes in bar 20, where he blows over an Fn-7 as iit were a hall-step up at Fio7-187 ‘This kind of harmonic freedom, combined with his incredible sense of knowing when how touse it, is something that distinguished the Hancock “sound” —even 30 years ayo! In bar 41, the bassist accidentally goes to the bridge too early, robbing tie soloist of « second ‘A’ section. Ina matter of three beats, Hancork hears what is happening, and rather tan stop the tape, jamps right tothe bridge, continuing the solo asf nothing had happened! ‘As many times a {had listened to this particular cut, it wasnt until T began to transeribe it that {realized the screw-up in the form, whichis a'compliment to how quickly Hancock adjusted to what was happening. “Tome, tis event emphasizes the importance of listening and keeping your ears open tall. times. This one ofthe main reasons why Herbie Hancock snot only a fine soloist, but one ofthe most in-demand accompanists of all ime. oe eee eects - (ie Beaty f c bal Dwuynor kegust 1993iat tetera ented wos = SSS DE This Publication is available in Microform. cae snd eto infomation fe Sue ENS ESR NSN OTS STE Ln USA HORN, INC.| 625 Oradell Ave, Oradell, NJ 07649 i Ht you want the BEST in performance, quality, price, service and selection call: 4 Selmer (Mk V1, Balanced Action, ete.), Conn, King, Martin and Buescher saxes Buffet and Selmer clarinets, all other woodwinds > Trumpets, trombones and brass We will pay the fairest prices anywhere for your used horns! ae eho INFO LINE (201) 265-9783 SCE Sorry, no catalogs, send phone number with all inquiries. @ oat Augest 1992DOWN BEAT ‘TRECORDS/TAPES & VIDEOTAPES ‘Arotuban uteedace tbe ze Hate cE Be Eu mees spegrg sere, Rec, a ‘CDs In stock, z Mey ness aoe ts se ates Cee Eis ae ere les SLIeaes. ‘ned eter ns , measure 23 beat 3 Bs, measure 43 G, Inmeesure 19, he i placed on the upbeat ofbeat 1.'There are at least 15 other examples; can you find them? Thisis the Clifford Brown device that [practice the most, andit has proved tobe beneficial in my development of playing bebop. ‘Third, unexpected shifts in the vnality: Just wien you think you've got him figured out, he throws @ curve. In measures 24 and 36 Brown uses trtone substitutions (B7 is implied in BK?) He delays the resolutions ofthe major third (C) in measure 49 and ofthe root (BE) in measure 58. Fourth, rhythmic inflections: Brown has an almost comical use of triplets (measures 36-42, measure 45), and briefly reminds us that he can play fas, too (measure 43) [recommend that students first lear ths solo without hearing Brown play it, This will aid in fecling the tonal shifts from the singular line, particularly in the bridges. After later hearing the recording, th stident can then concentrate onthe subs of Brown articulation and expression, Wall, ld better go, gotta get back to "Cherokee"!E.M. WINSTON SOPRANO SAX + Highest performance at lowest price + Curved & straight neck, mouthpiece, ligature and cap, carrying case + High Fi key + Oversized thumb rest, quality tan kid pads, Japanese "super-style"power- forged solid keys + Gold laqured, genuine gold & silver plated black gold + Alto-Tenor 20 MODELS AVAILABLE. SAX PACKS TROMBONE & TRUMPET CASES estument packs from Berkeley caset: ight weight, compact, eta strong. Reinforced gli fiber outside protects, deluxe plush lining lcurhions & codes. Dual handle, shoulde| sing. Black or win. SOPRANO + ALTO + TENOR BARITONE « TRUMPET « TROMBONE RAYBURN MUSIC CO. INC. 263 HUNTINGTON AVE. BOSTON, MA 02115Play Anytime You Want!! Various Sizes Portable x On. Wheels ‘Ascemble/Disosemble in Minutes Endod By Deanna Bogart « Chris Vadala Tel (65) 585-5827 + Pax (615) 585.5831 PRO SESSION Jackie McLean’s ‘Floogeh’ Solo— An Alto Sax Transcription by Eric Person [Erie Person’ dsbut as leader is Arrival Soul Note— soe" Reis” july 99). The alto and soprano sonst has layed with Chico Hamilton, Renal Shannon Jcson, Living Colour, and eCoy Tyner ‘cause ofthe changing direction of jazz in the '60s, alto saxo- phonist Jackie MeLean began searching for his place in the *new music.” On Blue Note albums like Jacknife, Its Time, Action, ‘S'Bout Sout, and Demon’ Dance, he added intervalie leaps, a four-octave range, and ‘modality to his already expansive musical arsenal, These albums hada great impacton. ‘me as 2 developing musician because he showed all that you needed in order to be great in jazz. MeLean stepped from under the wings of Charlie Parker not by discard ing the bop or blues language, but by augmenting it with the freer expression af the avant garde. ‘Which brings us to his solo on “Floogeh,” from Demon’s Dance (84345). This is a fast four-burner! The solois over the G Mixalyd- jan mode. McLean starts off melodic, but 15 8. Spr Hollow Ra. Morcoss, TN 37813] scrong. By superimposing a D Mixolydian scale he as variety and color from bars 17 and 16-20. McLean has a phenomenal feeling with the blues; in bars 20-25 he's developing a ‘motive that leads wellinto the hrst ofa series of bluesy triplet phrases played onthe G biues scale (bar 24) His use ofthis rif helps to propel he saloand givesit form, He uses variations ‘on this pase at length io bars 33, 34, 38, 42 and culminates into a dynamic climax at bars 99.98, At Last! PESO ta Repair Video!! ‘Send 5 heekaemaney onder oz ‘Singertand Productions, le 120. Rox 356~ Times Square Staton ‘New York,NY 10108-0356 (212) $46 2002 ovaaue Ocrebor 1993USA HORN, INC, 625 Oradell Ave, Oradell, NJ 07649 you don't care about performance, quality, price, service or honesty sage to anyone! you want the BEST in performance, quality, price, service and solection call: + Selmer (Mk VI, Balanced Action, etc.), Conn, King, Martin and Buescher saxes Buffet and Selmer clarinets, all other woodwinds Trumpets, trombones We will pay the fairest prices anywhere for your used horns! Oren ca INFO LINE CO Seek) aCe ah a Sorry, no catalogs, send phone ‘Aumber with all inquiries. ames October 1993THE PRICE FIGHTERS THE cares THE BRASSWIND! “World's Largest Selection of Instruments & Accessories” " SIMPLY RETURN The following Coupon indicating the FREE Catalog of your choice! b. Name Address City Stale Zip OD wooowino C1 srasswino D1 rocky RHYTHM D1 brums In THE WIND DWIND BRASSWIND 19880 State Line Rd. South Bond IN 46637 Call Toll Fre 1-800-348-5003 Local: 1-219-272-8266 | Petite ee Try at August 1998 WOODSHED TRANSCRIPTION Max Roach’s Drum Solo On ‘Joy Spring’ by Brian Thurgood Brian Thurgood is the drumset departmeat head at Grant MacBwan Community College in ‘Bémoaton, Albers, Canata. He has atiored Anayeing nd Sytheszing The faz DramomersPersanal Performance Style ard co-authored Persson Cline (First Stroke) Hee frequent performer withthe ‘Eonton Symphony Orchestra BRED nse intellectually and beautifully constructed drum solos. His phrasing units ivehis solosa strong sense of structure, Brief ielodic or rhythmic motifs, sequences, and ‘carefully placed silences give his solos a sense ‘offiow and continuity, Unlike his predecessors, Roach solos are not constructed with endless rudimental pattems—instead be allows the drums tobreathe, ike a horn or vocal soo. Roach’ solos display compositional tech- niques that established a higher musical stan arafor drum soos. His solo on “Joy Spring” a 1854 recording avaiable on Brownie: ‘The Complete Emdrey Recordings Of Cliford Brown (EmArcy 10-838306-2) is a ‘worthy example, Unlike many of his solos, this one ‘eas performed with brusbes, Great firis of technical prowess are not found here; instead, Several molifs are introduced and developed. The notational system simitedinits bility indicate al of the miances in Uinbre, dynamics, and rhythmic placement; only repeated listening will eveal these subtleties. "Roach begins his solo trading fours with a motif reminiscent of Baby Dodds’ Chrleston shythm, a variation of the three-ainstfourpolyhythmic feel. (This shytmis aso used as accents during the melody of the openinghead.) ods played the eighth-notemotifbetween the woodblock and cowbell, while Roach orchestrates between the snare drum andthe bass drum (bars 7and8,)Inbars 21-24, Roach chooses this motif again ba tythmicelly displaces it to create an interesting phrase following Brows second four. on. trumpet. Roach fembelishes the rhythmically displaced motif with single-scoke fours (four-stroke tas) Guring bars 55 and 56. Finally, the motif is altered rhythmically through the use of tdimimition mbars 6,62, and 63. Here, the otitis written in 16thnotes and displaced to the “2 (Gecond Lt not) of beat second motif used by Roach is based onthe quarte-note triplet. Roach introduces the triplet motif in bars 15 and 16, orchestrating around the drums ina sequential effect. The roti is found again in bars 37-40: This time the triplets ae disguised by the two-note Dhrasing created by the combination ofthe flam and the changing voices every two notes. "The motif fs further embellished in bar 44 by increasing the density of the passage with cighth-note triplets, accenting every second note onthe snare drum or toms. The same technique is used on only the toms daring bars 50-52, ‘Aird motifs found in bar 31. Max originally played this chythmn the head es a comping figure—on beat fur, between the snare drum andthe bas rum. The motfresurfaced ater {o compete his accompaniment of Harold Lands tenor sax solo Tnthatinstance, asinbar 1, the pattem started on beat three and was played on only the sare drum. A variation ofthe ‘mot concludes the solo in bars 6,62, and 63 Roach uses several compositional techniques aswell. In bar 32, he takes the three-ighth- note pattern beginning with the pickup to beat one and repeats it with the opposite ‘orchestration two beats later. ‘Tis same motif is found in bars 40 and 41, rhythmically displaced. In bars 46 and 47, Roach elongates an idea that js introduced in bar 45 and foreshadowed in bars 33 and'36. Throughout the solo, Roach plays many of the motivie figures over the bar lin, further entrenching polymetic fel (br 401, “Joy Spring” is yet another example of Roachs ability to construct a melodie musical structure on the drums. His manipulation of musical deas and his use of space should serve as inspiration not ony for drummers, but for all jaz musicians. ‘Unless indicated as prt ofa solo iea, the bass drums played very lightly — “feathered” throughout the transcription. In bars 21-23, oe hand sustains swish while the other band plays the notation. Inbar 30, the patter is performed as a time-ceeping ide pattern, not Battal) @VOTE TODAY s DOWN BEAT’ EELS READERS POLL te ft your arte mucansn DOWN BEATS {En Reis PL THE POLL 30 yr0 ‘eur fous want your spo. te! Ya rove ret {SER ey nat a 3 Sore, ue, noun BEAT RED, Seow VOTING RULES ‘he one ely Balls oust be pastarad bets mong Sainte 1 Q ovjasnancr nares 4422, BLUES/SOUL/RAB AND BE. YONG MUSICIANS OF THE YEAR; ‘WGefortetethey nyat open fe conte st opto, ad sora eds O rassorrate oe fons Detain sur opin Ys made ee Wore. eran wens some Caacat Eeettiaeeans ieee iar Cha ar Gn an Stay Bes Be se See tn Cory rw, Eon at, ke (Se Gre Chstry Hany are Ort Cae ‘Bh Si ‘te, cy fo Ere ae 3 Oooh, for Ec, aks Bing iar are Myre Fag, Sune Dy lage Sey fete sé Sear Sepa Lew Rem, Celentano. toner dhe Herr Wey farm aH ny ieages Bie Hay. mes Posy, hed Jones Stoo Raut Aare Kite, ea ie, Clares legs Telcom Mark, Wes Net oy gan sty Ra in ry a Agar Fava, Kg ie. Cate Parte tb Esau a epper tarPrrs BiFowe St fe go fuer Soy Reh ex Roush Rd San oy tins Pe Ww Rsse od) Stam. Sot ra. Ease Sri, By Sear, kt tar, ee Siler ame iar Sh ‘gia een ats Wy Ben Weds ry {Wi ea a, taser Yur, a ak Mis CELLANEOUS INSTRUMENTS: eves ha he 0 Dy 190 me ecaptens: wae Yorba cada ‘onto cbgyy, ere an Puahor, must ‘Mo vumodteaane. AZZ, BLUES/SOUL/REB AND BE- YONG ALBUME OF THE YEAR: Se Ingo (Pa Costs rng ex 2 moos (Set ug 3 880) Do ot ae fr ts © (Ein faith te ad arts ae, yur hoes fat oe es, net lure roar err ersemconsene owas Aogust 1994i: COLLEGE OF MUSIC BOOKSTORE vawysnt Moventer 1994 WOODSHED Bieta Roy Haynes’ Drum Solo On ‘All The Things You Are’ by David Fodor David Fodor curently teaches jazz studies, electonie misc, and percussion at Evanston Township igh Schooin Evanston I He s2 doctoral candidate in muse education at Northwestern University ands president ofthe lino unit ofthe International Association of are Bdcatars. An active drumset perfocer and clinician, Fodor recently conrbutet to Pal Berliners new book, Thinking in faze (Unie ‘ernty of Chicago Pressh AE 288 5 om 00 tow ‘Maintaining energy levels track- ing a tune intervally, and linking ideas cohesively, for starters. Since the mid-‘40s, Roy Haynes has recorded many drum solos that demonstrate the ease and excitement of improvisational flow at a fast tempo. On “All The Things You Are,” from Pat Metheny’s 1990 album Question And Ansieer (Geffen 24293-2), Haynes plays three noteworthy, full-chorus drum solos, sandwiched between solo-guitar choruses by Metheny. The following transcription shows the fist solo chorus by Haynes. ‘When asked about this recording session, Haynes described the flow in terms of the “chemistry” or interaction, between the players (bassist Dave Holland completes the trio} In this particular solo, the high energy level ofall the players is carried on Roy Haynes bby Haynes as he goes it alone. He seems to —————___— “breathe” in various spots (measures 9, 17, 35-36) by leaving small spaces of silence; these ‘ests line up with major points of the song orm, an 4-A’-B-Axtension) pattern. Haynes said be generally thinks i two, four, and eight-bar phrases ashe improvises. In ‘other eases, the melody lin is rumning through his mind. These two essentials are often, ‘overlooked by drummers, and Haynes demonstrates a wonderful example of following the foc while producing a wildly creative improvisation inside of it. eaynes also employs several musical gestures that interact in a cohesive flow of ideas across time, Inmeasure 1, he comesin swinging hard, then syneopates the end ofthe phrase ‘The dotted-eighth movement from drum to drum found in measures 3-4 serves a8 a main rhythmic ingredient for the entte solo. In response to the syncopation of the first phrase, Haynes replies with strong downbeat accents in measures 5-8, capping of the “A” section of the song with a cymbal’bass-drum kick onthe “and” of beat 4 in measure 8, ‘flurry of eighth notes in measures 916 begins on the snare drum and gradually involves all three tom toms, Although the eighth notes are constant during this section, Haynes offsets the aecent patterns in several ways, creating a more agitated feeling than inthe rst eight bars, He begins the phrase onthe back half ofba 9, playing ve groupings of six eighth notes that lead to a strong downbeat at bar Il. Haynes doubles the speed ofthe accented ‘notes one bar later; the unsettling result may keep you guessing atthe phrase structure until the downbeat ofmeasure 17, which resounds witha forte cymbaV/bass-drum punch on beat ‘Measures 17-21 are the most rhythmically complex ofthe solo. Here, Haynes returns to ‘he dotied-eighth igure. Bntering on the back half ofthe measure (as on bar 9), he sets up ‘three-cighth-note figure, with the bass drum as the leadoff voice, m bars 17-19, He repeats the same idea one-half of a beat sooner in bars 21-23. This small gesture—moving a thythmic idea forward by one eighth note—gives momentum to the second phrase (measures 21-24) while maintaining a continuity of musical material Haynes uses measures 25-36 to return to the rhythmic simplicity found in bars 5-8 as he adds complex dynamic contrasts and timbral variety. In his next-to-last phrase, he creates swells with his sticks onthe hichat and alternates o the snare drum far changes in color. The subtlety of variations between measures 25-31 (listen closely?) shows that Haynes is in superb control of his instrument, ‘The final four measures (33-36) re-establish the energy level found ia bars 9-16, and Haynes closes this solo sectiem with a two-bar figure chat ends on beat 1 of the next chorus. ‘As you listen to this chorus, dissect each phrase, bar, and beat. Also, be sure to listen to the rest of the track: Why did the dotted-cighth figure come into py in the solo? With repeated lstenings, youll see how Haynes makes it al fit togetherTHE PRICE FIGHTERS THE woownn THE BRASSWIND) & Accessories” ' SIMPLY RETURN The following Coupon indicating the FREE Catalog of your choice! Name Address |; PsSsSSERASARSDESSSSESCESHERISETEON State_____Zip CO wooowino C1 srasswinn 1 Rock ’y RHYTHM 2 baums in THE win SLOTIND ‘BRASSWIND Sou Bod N87 Call Toll Free: 1-800-348-5003 Local: 1-219-272-8266 tomace November 1984CU Ces eee oe A eat) Ere es AVAILABLE AT THESESTORES Figure [Figure Out Solos Solos by yourself i cena fuck, = hey Sater Eee um feet [ocnsuen (2 800-543-6125 Sstehen.tenss 64 DOWN BEAT JUNE ES TRANSCR TION Woody Shaw’s Solo On ‘Calling Miss Khadija’ by Orbert Davis remember the first time Iheard Woody ‘Shaw It was his 1974 recording Mon. frane. My first reaction was one of Dewilderment, “What is he playing?” I asked, ‘Docssit he know the chords?” It didnt take Jong to realize that his tonal ‘concepts were advanced for my young ears. ‘Shaw, probably the most underrated trumpeter in the history of}az2 (he tied with Kenay Wheeler in OB Critics Poll, TDWR, 1970) ts into aineage that includes Booker Litde, Clifford Brown and his contempo- aries Freddie Hubbard, Lee Morgan and Blue Mitchell. His intervalic style, which utilizes the use of pentatonic scales and ‘sperimposed harmonies, was most inf exeed by post-bop saxophonists. Ie was Eric Dolphy who taught him techniques of play. ing “inside” and “outside” ofthe changes. ‘Shaw and Hubbard collaborated in 1985 to ovord Time Speaks and Double Take. Thei third abum a8 a duo, The Bternal Triangle (Goon to he re-released on The Freddie Hubbard Woody Shaw Sessions, Blue Note 32747), was recorded in 1987. Lee Mocgans Composition “Calling Miss Khadija” from that recording isa 64 blues in B concert. 1 found it interesting how the two trumpet soloists inspire and influence each other on this recording, Freddie sounds 2 lot like Woody and Woody sounds «lot like Freddie Gee measures 1-6, 18-22) Similar to his sigle ofthe 1960s, Shaw composes his solo ‘with emphasis on chord tones. Every phrase {except for measures 27 and 34, which are part of melodic sequences) begins and ends with strong chord tones, Notice the blues seale in measures 1-3. The A and Bs in measure 5 outline the F9 chord. Shaw briefly akers the tonality in measures 9-10 by implying Bymin?/B7 bot shifts chromat ically to the Br in measure TI, resotving in smeagure 12 0 the tonic C. His use of space here sets up the next chorus beautifully. In this phrase Shaw teases the listener with ‘one of is trademarks, the pentatonic scale. Shaw also incorparates (our melodic de~ vices the blues scale bars 13-1) an altered pentatonic scale (bar 15) transposed sey ments of descending bebop scales (bar 15, beats 2 and 3; bar 61, beats 2 and 3) and dominant definition with the 3rd and 7ch of FT (bar 17). T encourage students of all instruments to study, memorize and trans- pose this one! The alternate fingering and short “blips” in measures 18-22 are neminis cent of Hubbard and Morgan Woody Shaw ‘Tie rstof Stew’ to melodic sequence coveurs in messures 26-27, where be incor parates two ascending whole-tone scales fusing chromatic upper neighbors. Notice how minor thirds are constructed beginning from beat $ of measure 26 tothe end of phrase, Because ofthe continuing nature o this pase, the F (the forbidden fonrt is not painful to our ears. Te other melodic sequence occurs in measures 32-34. Shaw targets the D in bar 33 frst by descending from the G in bar 32, by using the upper lower neighbor (Gf and B) in bar 33, and then inverting the sequence targeting the D> in bar 34 using two consective upperower neighbor relationships (C-As resolving to B and B-B> resolving 10 Db), ending wth a pentatonic idea. Wow! Al this, combined with Shaws inventive tase of syncopation (bar 29), rhythmic infec: tion (bars 9-10, 18-20, 25-16), use of space (ars 4 and 28) and staccato 8th notes (bars Bland 35), make this solo aperfect exampie of is creative gemius, 08 Trumpeter Orbert Davis is one of Chicago busiest tuo and jazz mcsicans having over 41500 radio and TV commercials to hs croc He currenty pertorms with Ine Chicago Jaz Ensemble conducted by Wiliam Russo and various groups under his omn name. His ‘ently elessea doout CD Unfinished Memo- ‘hes ison the Copia Records abe! He teachos trumpet and improvisation at Columbia CalogeGroove-driven Jazz/funk with a street feel! 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Various Sizes + Expandable “ek: (615) 585-5827 Fax: (615) 585-5831 16S. Sepa Hollow Rd. Meriowe, THSTBI3 USA omar April 1994 WOODSHED TRANSCRIPTION Grant Green’s Guitar Solo On ‘Miss Ann’s Tempo’ by Rick Peckham ‘ick Peckham s assistant chair ofthe Guitar Department al Berkiee College of Music a 2228 pee highest values in jazz. His precise, swinging time feel, hornsike melodic integrity, and brittle-edged, singing tone have earned him a place as one of contemporary music’ most important aultarsts, Green was a premier stylist, fusing electric blues with a harmonic vocabulary of bebop-level sophist- cation. Charlie Christian, in the 40s, frequently em- jphasized the ninth and’ 13th extensions in chords {cee “Pro Session’ May "8D. Green, using the bebop shapes introduced by alto saxophonist Charlie Parker and his disciples, made much more beavy use of ‘chromaticism. The Best Of Grant Green, Volume 1 (Blue Note; out ‘of pint serves as an excellent introduction to some of ‘the guitarists best performances Greens solo from “Miss Anns Tempo” (96D, included in the abore collection, exempiifios many of his most infuential characteristics. This blues tune begins with an elegantly simple melody, performed with guitar, organ, and drums. ‘TWwo choruses of melody are followed by 2 nine-chorus guitar solo, an organ solo, and then & climactic return ofthe guitar for six more choruses the six choruses transcribed here. ‘Chorus begins with Green's use ofan BS (the fourth) on the tonic B¥7, am unlikely choice {or chord scale enthusiasts, but dead-on inthe urben blues tradition. The Bs blues scale (B, D., B, E, provides pitch material for use anywhere within the form, and Green easily shifts from harmonic specificity to bluesy generalization. The E returns in bar 4 and is resolved to the thd of the BF7 chord, followed by an arpegoiation sweeping through the ninth, resolving to the fifth ofthe B57 chord in bar 5. The remainder of Chorus l consists of bebop approaches and chromaticism, Tn the last seven bars of Charus 2 and all of Chorus 3, Green tantalizingly buds the solo by playing short notes on upbeats and downbeats. The use of only four notes through this section forces the listener to hear these notes from diferent rhythmic and harmonic perspectives —as the melodic material stays the same, the chords change beneath. Th Chorus 4, Green releases all ofthe tension but up with the short notes in the previous wo choruses, rifing on the root and sixth degrees. In bars 43-47, he plays actoss the barlines, arpegsiating notes from BS6/9, harmonically generalizing in the key of Br. In Chorus 5, bars 54-59, Green plays a three-beat polyrhythmic Bgure taken from the melody sand again plays across the bar lines, In Chorus 6, the final 12 bars before the head out, Green resumes his use of bop cromaticism, sotably in bar 67, laying the major seventh degree of 247 as an accented non: harmonic tone resolving tothe root onthe “and” of beat two. Green fishes with alI-V-lick intars 69-71 DB 2 e Gront Groenoo FREE! Beste OMT ars PEN ag ens Dacre CIE! Peete ried eed Tle Visvielsrud Ramblons seme op the type of Lome cooking, the ba sou. bophiind, {or 6 rigft on Bonbon Streit To Order send check or money order for $11.95 (CD), $8.95 (cassette) plus $2.00 S&H to: ‘The Dixieland Ramblers, 6475 2ath Street SE, Suite 217, Grand Rapids, MI 49586. Allow 2-3 weeks for delivery. Pease enclos ‘your name, address and ZIP with Yourorder. essed Amal oxy April 1994Thinking of Buying Musical CT ee Since 1924, when Sam opened his first ‘music store in Brooklyn, N.¥,, musidans have come to rely on the Sam Ash family for the biggest selection, best service and the Guaranteed Lowest Prices! ee eS OS Pee keene PU Seton reed 4 ee tela va aL we aI) Saxophoné Solo On he Surrey With The ige On Top’ 1 1957, for his album News Time, tenor sxophonist Sonny Rollins recorded Rody ‘rs and Hammerstein's “The Surrey With The Fringe On Top” as a duce with dearamer Philly Joe Tones. Peorming with no chee acvompe iment or bassline provides a soloist with cer tain ficedoms but also presents some unique ctallenges, such a5 how fo delineate the form land make the chord changes clear, Rollins cex- tainly rose 1a the oocasion. Transcribed here are his last ewo choruses before e ae Tones start trading fours ‘The chords written on top represeat the standard changes to this song. One way Roll ins makes itclear what harmony he's hearing through the use of arpeggios, such as the Gra? ascending I6th-note arpeggio in measure 57, ‘hich reappears witha tiple shyt: in mes ste 60, There's also the By triad preceded by its major seventh atthe ends of measures 15, 43, in both cases leading to the Gm. The descending Cm in measure 61 is paricularly ef fective consdcrng thee was the E natural and ‘Cin the previous measure helping make the C7 sound clear. This arpeggio relly brings out the harmony and] helps indicate wherein de tone ‘More interesting, though, are the arpeggios Rollins pays that are not the under\ying harmo. ny. Thete area lt of G minor and G minor sev ‘mths on the ong By sections (peraps Rollins is hescing tas 8,6), Right from measure | ofthis transcription, Rolin plays series of ascen~ ing third from G o A (Gas8) and then resolves fn the By roo. In the very next mezsure, a de~ seeneing Dn (the top of Bymaj7) ads toa de scenaling Cru, And the ascending Cm chords i measure 1! both nes resolve to Bymaf7 chordof where Rollins quotes small chunk ofthe mel ne ody, asin measures 25-27, In 50-33, leading ns to the bridge, Rollins pays the saate melodie he igure the melody uses before the bridge, Alc 14 though be changes the rhythmic valuce, i's sill THE AMAZING RW LIGATURE BETTER ATTACK. RETTCD UADMANICSThinking of Buying Musical Equipment? Since 1924, when Sam opened his first ‘musicstorein Brooklyn, N.Y, musicians have come to rely on the Sam Ash family forthe biggest selection, best service andthe Guaranteed Lowest Prices! er ae SO ase eet PSEC OR remorse! 16 powminear ocroacn 2010 Woodshed | ermsnsas } Jon lrabagon’s Alto Sax Solo On Terie cerca axophonis Jon Irabegon is musician armed ih the talent of performing in a Yay of ‘uusical sites. Lubagon’s most recent albu, The Observer (Concord Jazz), i a mixture of friginals and jazz standards featuring piist Kenny Barron, bassist Rufus Reid and drammer ‘ietor Lewis—the same rhythm section that ten- cor ssxophionist Sta Getz used in his late years The CD's opening tune, “Feruary Drew.” is medium slow sing composed with an unusual song form of AABBBB, ‘The tune's A secden is bar melody that {is epouted. The B seeon is a four-bar phase that is repeated four times, totaling 44 bars. Psying alo, Irbagon opens his slo with a four let mi, outining an Bad. In meas 4 delicately adds hannonic Bavor by oulining a augmented tad over the B7#9, which i suble but effective contast to the By tia phrase he started wit, While maintaining slow andswing- ing fee, robagon pays a diminished eighth now line in bars 7-9. The line is hase on an Fie minished tonality over he DEO\CEVPFT 13 and the Gm. In measures 10 and 11, he harmoai- cally incorportes ables lick that uses the seme sequence on note fom the F¥ diminished line. He picks up the pace witha double time lic in ‘bars 13 and 14 that i eal ke in seucture, but ABS. is peppered with bebop nuances and chromatic approaches to the chord tones. gaze Ping out palm-key F on beat four of measure 15, labagon exeentes aC blnes-based line that bles tough the changes, The use of wipes as trhythmic device drives the phrase forvard. He brings the line fll crcteending on the same noe he stared with high In measure 22, B major tonality is impased over the C#7. Surcng on 8 (D#), rabagon ost- lines a B major scale oocasionally infused with ctomatics. On beat thee in measure 22, he clearly oulines a 8 major wad that seamlessly descends to an Fminar tad and resolves it ‘measure 23 10 4 D minor iad over the Gr, Hee continues the D aiinor touality in mea sure 23 while melodially maneuvering tothe AjmasTPLL in measure 24, The descending ine that flows in ensures 26-28 is structured on chromatics and is vibrady played in the upper register in series of repeated hythmie paren ‘This Fne leads beauty ro the B seton af the tune, beginning in measure 2. “The B section is composed of four measures ‘hat are repeated. As it ives, the chord changes shift to a syncopated pater that allows Iakazon {o create some intresting phrases not only hi ‘monicelly, but rhythmically es well, Forexample,Nelson Rangell plays DURGA & AMMA ACU Tar me Ccr.y Eom een tt ty ae OR eT have been a CO RECT Pome ae) Era eee eet mouthpiece making CORR Certs PUR a eS cee PACU nny DORR NC ua) PERC eet ae - Nelson RULER a I)Thinking of Buying Musical Equipment? Since 1924, when Sam opened his ist ‘music store in Brooklyn, N.Y,, musicians have come to rely on the Sam Ash family for the biggest selection, best service andthe Guaranteed Lowest Prices! Crees SO ES rrr e ne ents PE Perrine meres. 176 DOWNBEAT NOVEWDER 20 Woodshed | eresnenurs John Fedchock’s Trombone Solo From fey iil) Edge’ sombonist Jolin Fedchock’s solo fom “Oa ‘The Edge," from his New York Big Band's 1998 alburn of the same name (Reservoir), cleatly portrays the bebop language as well as ‘modern chythmie and harmonic ideas, Until the Tas four measures, sis blues solo is accompe- nied by the drummer oly, 2s Fedchock shows his ability to establish and alter harmony ith- ‘ut piano or bass accompaniment ‘There ae ideas of sequence found though ‘ut te slo, For example, in measures 10 and 1] Fedchock teats the implisd C1349, #11) harmo. ny both as sequence that combines alte chromatic idea with unasually wide intervals and asa uniguecitng of the dinished scale. He aso ‘tarts and ends his solo with blves-erieted licks ‘hat give his solo symmetry and melodic stability and display a nod to earlier stylistic roo. Fodehock’s slo has a song bebop slant He ‘quotes the melody of his own ume (eneasure 6), ses sumouring noes (mesures 5,6, 7 and 14), rplies major Teh harmony over a dominant bord (measures 7, 17 and 18) and arpegetates chords (meesure 8,9 an 12), Along, wath elasic bebop vocabulary, Fed chock introduces some of his o'¥n harmonic dens, which re cispayed through voice leading, the use of upper extension and implied chow al terton, In measures 4 and 19, Fedehock voioe= leads in an uncommen way. The resolution ofthe Ay toE at measures 4 and Sis the sound of a #9 resolving ta #11. In standard prctic, the reso- Icon of an upper extension is usualy toa song, ote inthe resolving chords however, edchoek resolves one upper extension to another her. This, in tum, ats a pt ofa series of surround ing tones, finally resolving tothe “expected” F ‘on the third beat of measure 5. Another example cf his voiee-eaing canbe found at measures 19 ‘nd 20, where be leaves the F7 chord onthe tind (A) and goesto which the)9 of an AmT7I45) coed. The interval of a}9 presen a planned dis Scoance that gives the line its istinct sound. evchock als plays withthe harman by an- tipating and delaying harmonic resoluins. Por example, in measize 7, the first note e plays isYOU_DON’T HAVE TO BE FAMOUS TO SOUND FAMOUS ra U meet tre eerie, Ay. The note that follows the Ap is the planned ‘resolution, G. However, the resolution has been selayod ffom the expected fist heat to tbe un expected second best, In measure 8, Fedchock ‘lysates an example of anticipating harmonic ‘change. On the fourth beat of measure 8,he plays ‘ax F that e es over to the next measure. The F oest't act asa #9 of the D7 chard, but rather as an anticipation ofthe upeoming Gm chord. This anticipation is powerful because the third of one hoed is moving to the seventh of another: This ‘ype of voice Reading is raional and defines armony in tbe absenee of piano and bass secempaniment Fadchock's ‘most intriguing musical qos ‘iy—his use of upper extensions end altered Ihumonies sets him apart from other players. ‘Examples of upper extensions, ehromaticism or tered harmony occar in 22 out ofthe 24 mee somes presented here. For instance, rather than ‘outline @ standart 8,7 harmony in measures 2 td 14, he chooses to play material tha defines Bjsus?, establishing a more modal sound and sounding the key center Tp change the sound oF FT fom hat of onic toan altered dominant, hn combines the notes ofthe titone major pea ‘atone sale with, i the ist choms,chrematie passing tones, and, inthe second chorus, noes Som the altered scale, This creates tension that resolves once the IV chord of BLT ives in me sures and 17. The syramety ofthese tv open ing choruses isnt enincidental, but planned, The ‘plied modal quality ofthe TV chee alo adds to the alteration of the standard blues harmony (a susponded chord rther than a minant end ‘creates anticipation fr his upeoring altered fine While conveying these complex musical eas without piano or bass might seem a ctfi- cul tsk, ts prominent fen in Fedchosk’s repertoire, which draws fom strong bebop rots combined with unique concepts of melody and barony. me (i mus nas oaareoMroseR! SShalee reteues nse esacuney sa DRECTS Ven EOCHOCS LATEST COLE A THE RD eA. BEE esr earn renee ne moors inraorer nN CONCRNTN eoote une SIMA Matar enn, wer echo ote Soeatsoe ocean, CENT aA ae OVERBER 2010 BOWNBEAT 77Caen ET 298 DOWNBEAT Hy 2050 by Jimi Durso Dexter Gordon’s Rubato Tenor Saxophone Solo On Live Version Of ‘Round Midnight’ ‘The amount of shytanic vituosty tenor saxo phonist Dexter Gordoa exibts on his "Round Midnight” solo from 1976's live slbum Homecoming is noting short of sublime. The manner with which he plays with hydhmicele- eis, cresting a sense of elastic time against ‘he rhythm sections steady pulse, isa sty in creative soloing First: his expertise with subdivisions Gerson switches between duple end triple feels with ease, sometimes back and forth in the ‘samme messure. Measure 11, where he places triplet inthe middle of two groups of Tes, i an especially good example of lis mastery of these elements, Another example is measure 23, with Gordon playing a beat of triplets, wo teats of 16ths and then another bea of triplets ‘Also check out the variety of different sub visions be uses, Bess the standard eiginhs, triplets and 16tns, we see sexcuplets and 16 note triplets (1, 4. 5, 9 13, 21, 24, 33), Ths incered ino elgeh-nuce wiles 2,13. 16,18, 31), S2nds (15, 20, 26, 32), as well 2s som more esoteric rhythms Such as in te last beat ofthe very fist measure. where Gordon insets ‘triplet within a tiple. Ee measure 4. qui plet is placed between the daple and sextuplet ‘yt, creating a sense of speeding up. Thete ae other examples of Gordon creat- ig this illusion of tempo ange By varying his fhythess. In measures 6 and 7 be starts with Ié6ths, slows down to triplets and ends the phrase with Its again, In measure 23 Codon oes the opposite, saning with tipiets. speed ing up into L6ths and then back to triplets Another poignant example is te Las liek be plays sasting in measure 33, where from off- beat 16ths be builds the energy with # sexi pet, and tien ends with an eighth note. giving is fll value, before the il held note. Gordon also plays with is relation to the pulse, sometimes playing on or ahead of the beat, but mostly playing behind it Some sreat examples ae in measure 6 where he phrases on top of the beat, and over the bat lie from bus 3-9, where Gordon plays way belt. Ther’ also messure Id where Gordon stats oat on {op, bur by the fist ante of measure 1S he is far behind the beat. You'll notice throughout is soo there i this push and pall against the pulse ‘ofthe rhytton seco. ‘Two more techniques used effectively ae varying his phase length and phrasing over the ‘We seo a variety of phrase ler in between, His phrases slso end et different points. Though there isa tendency to pase ‘over the bar I 6-7, 8-9, 23-24, 28-29, 33-34, one of his phrases (11 Iy on the downbe downbeat (4: ‘Coupling this with his deft use of subdivisions und relation 1 pulse rakes for a gripping and ‘evocative solo. 3 as done over measures 3-4, p31. 32-33 and 2y ends square- vk Dar ea past and best n ha New York tea He can bo roachadt nur com,ets abe be Es a nes : cS ol ch. ByD Eps ss ae ao Gt = Pinay cx) gts 8 5r35 21587 pews ons AY pe pk F Oe eoteit: bebe. “Ve ae — = Se = j 20 thy ah haa? BE ypEh p> Bet ote etter === fait JSS (iets 2the Pros C Wired. Inspired by the original Gene Krupa jazz brush, ro-Mark's famous TB-3 ‘Telescopic Wire Brush features an exclusive internal guide to keep wires stright. With a smooth rubber grip for justthe right feel and lightweight design for fast response. Ifyou prefer a heavier ‘elescopic brush, out model TB-4 is ideal with molded rubber handles and longer wires fora classic brush sound. Dro:mar 10707 caighead Houston Towa 17038 olin 1 800 255-8250 PRO SESSION Ben Riley’s Comping On ‘Bemsha Swing’— A Drum Transcription by Rich Thompson. ich Thompson it a freelance érammerteacher who co-authored Bly Hart's Jaze Dnenming (vance Muse) and Ben Riky' A Siliic Ajproach Tp faze Dramning (Secon Poor. In te past ‘ear Thompson has cecompanied Dizzy Gilespe, Hank Crawford, Curtis Full, Buck Clayton, and t ‘Marian McParland. Te records neaulely wih pais Bil Dobbins and works ina quintet with ex ‘Basie trumpeter Byron Striping B27 ee ee tered toa one ote each secrets. Wit oe 100 recordings to his cred, be is wel-versed in the role of accompanist. Riley’: best-known association is the one he bad with Thelonious Monk in the 1960s, but the breath of Rey's special style of comping ranges from gigs with both Woody Herman and Eric Dolphy, to recording with Sphere and, most recently, the Tough Young Tenors’ Alone ‘getter (Antilles 84767 —see “Reviews” Sept. 90). ‘In our interview sessions for A Stylistic Approach To Jaze Drumming, Riley recalls Monks advice to him regarding a drummer's role as accompanist. Monk tokt Riley: “You carit ‘always lke every song the best. Anather player might like the song more than you, and Jhis beat might be better than your beat.” Riley adds to this in the book, cautioning young players not to take control of the time before listening to find the player who has “the ‘5wing” in his beat. Tt will be evident from looking at the following, excerpt that Riley chooses to both complement and contrast what Monk is playing. While listening to this cut you Wal notice the conversational interplay between the two players. “This particular version of "Bemsha Sing,” recorded in 1968, is from Monk's Live At The It Club (Columbia C2 38030), The excerpt is four choruses in length and starts with traditional drumset notation in bar one. So as not to overcomplicate reading, the ride cymbal, bass drum, and high -hat have been omitted in ll measures where they were played exactly asin measure one. This allows the musician an opportunity to concentrate on the falog Riley employs between hs left hand and bass drum. Smaller note heads have been used’ to denote softer sounds, a technique sometimes referred to as “ghosting” or “ghosted” Most of the time, Riley plays his bass drum on all four beats at an almost inaudible level, and he refers to this as “feathering.” ‘Within the first Jour bars of this transcription you got the feling that Riley was a true Blakey disciple. The left-hand pattern in measure fou was one of Blakey's favorites. Notice how Riley takes that rhythm (measure two) and by displacing itn the third measure, and leaving the bass drura out inthe fourth measure, constructs a highly creative phrase. He is constantly “skewing” a simple rhythm in his left hand to create the illusion of something. more complex. Qust as Monk did when he wrote the tune "Rhythm-A-Ning”) Also, Riley tends to play definite closure figures in measures eight, 16, 24, 32, 0, 48, and 64, which are midvvay points and endings of each chorus. Many'of these closing drum statements ‘wore set up by Monk but reflect Ruey’s earlier infuences. Thave marked some points of interest in the solo where I feet that what Monkc cr Riley Video Music ‘* Music Education (K-12) Ta aAcreealiod oy tne < ee made Sates Meus fd. Ave., Seaford, NY 11783 oro ate